Consider the Book of Mormon, first published in 1830. The nature of this volume—in particular its claim to antiquity—is the theme of nine ground-breaking essays in American Apocrypha. Thomas W. Murphy discusses the Book of Mormon’s view that American Indians are descendants of ancient Hebrews. In recent DNA tests, Native Americans have proven to be of Siberian ancestry and not of ancient Jewish or Middle Eastern descent. Nor is the Book of Mormon a traditional translation from an ancient document, writes David P. Wright, as indicated by the underlying Hebrew in the book’s Isaiah passages. Other contributors to American Apocrypha explore the evolution of ideas in the Book of Mormon during the course of its dictation.
Editors Dan Vogel and Brent Metcalfe have chosen essays by authors who represent a wide range of disciplines and perspectives: Robert Price edits the Journal of Higher Criticism; Thomas Murphy chairs the anthropology department at Edmonds Community College; David Wright teaches Hebrew Bible at Brandeis University. They are joined by Scott C. Dunn; Edwin Firmage, Jr.; George D. Smith; and Susan Staker—all of whom explore what can be reasonably asserted about the Book of Mormon as scripture.
Why does one talented individual win lasting recognition in a particular field, while another equally talented person does not? While there are many possible reasons, one obvious answer is that something more than talent is requisite to produce fame. The "something more" in the field of architecture, asserts Roxanne Williamson, is the association with a "famous" architect at the moment he or she first receives major publicity or designs the building for which he or she will eventually be celebrated.
In this study of more than six hundred American architects who have achieved a place in architectural histories, Williamson finds that only a small minority do not fit the "right person–right time" pattern. She traces the apprenticeship connection in case studies of Louis Sullivan, Frank Lloyd Wright, Henry Hobson Richardson, the firm of McKim, Mead & White, Latrobe and his descendants, the Bulfinch and Renwick Lines, the European immigrant masters, and Louis Kahn.
Although she acknowledges and discusses the importance of family connections, the right schools, self-promotion, scholarships, design competition awards, and promotion by important journals, Williamson maintains that the apprenticeship connection is the single most important predictor of architectural fame. She offers the intriguing hypothesis that what is transferred in the relationship is not a particular style or approach but rather the courage and self-confidence to be true to one's own vision. Perhaps, she says, this is the case in all the arts.
American Architects and the Mechanics of Fame is sure to provoke thought and comment in architecture and other creative fields.
U.S. arms sales to Third World countries rapidly escalated from $250 million per year in the 1950s and 1960s to $10 billion and above in the 1970s and 1980s. But were these military sales, so critical in their impact on Third World nations and on America’s perception of its global role, achieving the ends and benefits attributed to them by U.S. policymakers? In American Arms Supermarket, Michael T. Klare responds to this troubling, still-timely question with a resounding no, showing how a steady growth in arms sales places global security and stability in jeopardy.
Tracing U.S. policies, practices, and experiences in military sales to the Third World from the 1950s to the 1980s, Klare explains how the formation of U.S. foreign policy did not keep pace with its escalating arms sales—how, instead, U.S. arms exports proved to be an unreliable instrument of policy, often producing results that diminished rather than enhanced fundamental American interests. Klare carefully considers the whole spectrum of contemporary American arms policy, focusing on the political economy of military sales, the evolution of U.S. arms export policy from John F. Kennedy to Ronald Reagan, and the institutional framework for arms export decision making. Actual case studies of U.S. arms sales to Latin America, Iran, and the Middle East provide useful data in assessing the effectiveness of arms transfer programs in meeting U.S. foreign policy objectives.
The author also rigorously examines trouble spots in arms policy: the transfer of arms-making technology to Third World arms producers, the relationship between arms transfers and human rights, and the enforcement of arms embargoes on South Africa, Chile, and other “pariah” regimes. Klare also compares the U.S. record on arms transfers to the experiences of other major arms suppliers: the Soviet Union and the “big four” European nations—France, Britain, the former West Germany, and Italy. Concluding with a reasoned, carefully drawn proposal for an alternative arms export policy, Klare vividly demonstrates the need for cautious, restrained, and sensitive policy.
Mildred and Robert Woods Bliss, the founders of Dumbarton Oaks, were not, per se, collectors of American art. Nevertheless, they acquired interesting and, at times, important examples of American paintings, drawings, etchings, and sculptures. Such acquisitions were but a part of an overall collection which comprised ancient Chinese, Greek, Roman, Byzantine, Pre-Columbian, and European old master artworks as well as rare books, literary manuscripts and correspondence, important furnishings, unusual bibelots, and concert-quality instruments. The American artworks that remain at Dumbarton Oaks offer an important insight into the Blisses’ remarkable breadth of vision for their collection.
This volume catalogues the American art collection at Dumbarton Oaks and is published in conjunction with an exhibition, “American Art at Dumbarton Oaks.” An introductory essay describes the formation of this collection by Mildred and Robert Woods Bliss and their parents Anna and William H. Bliss, while the subsequent catalogue entries elaborate on nineteen artworks by James Abbott McNeill Whistler, Elihu Vedder, Walter Gay, Childe Hassam, Albert Edward Sterner, Henry Golden Dearth, and Bernice Cross. Richly illustrated with color plates and comparative illustrations, this catalogue will be an important and enduring reference for scholars, students, and admirers of American art.
When defining culture, one must indeed take into account even the minutest of details. What of a lighter, for example, or a telephone? The essays in this new collection examine just that. The contributors pose not only a historical, pragmatic use for the items, but also delve into more imaginative aspects of what defines us as Americans. Both the lighter and the telephone are investigated, as well as how the lava lamp represents sixties counterculture and containment. The late nineteenth-century corset is discussed as an embodiment of womanhood, and an Amish quilt is used as an illustration of cultural continuity. These are just a few of the artifacts discussed. Scholars will be intrigued by the historical interpretations that contributors proposed concerning a teapot, card table, and locket; students will not only find merit in the expositions, but also by learning from the models how such interpretation can be carried out. This collection helps us understand that very thing that makes us who we are. Viewing these objects from both our past and our present, we can begin to define what it is to be American.
Lynching is often viewed as a narrow form of violence: either the spontaneous act of an angry mob against accused individuals, or a demonstration of white supremacy against an entire population considered subhuman. However, in this new treatise, historian Guy Lancaster exposes the multiple forms of violence hidden beneath the singular label of lynching.
Lancaster, who has written extensively on racial violence, details several lynchings of Blacks by white posses in post-Reconstruction Arkansas. Drawing from the fields of history, philosophy, cognitive science, sociology, and literary theory, and quoting chilling contemporary accounts, he argues that the act of lynching encompasses five distinct but overlapping types of violence. This new framework reveals lynching to be even more of an atrocity than previously understood: that mobs did not disregard the humanity of their victims but rather reveled in it; that they were not simply enacting personal vengeance but manifesting an elite project of subjugation. Lancaster thus clarifies and connects the motives and goals of seemingly isolated lynch mobs, embedding the practice in the ongoing enforcement of white supremacy. By interrogating the substance of lynching, American Atrocity shines new light on both past anti-Black violence and the historical underpinnings of our present moment.
The first four essays review the major historical periods of American autobiography, placing the classic texts of American autobiographical literature from Captain John Smith to Malcolm X in the illuminating context of lesser-known contemporary narratives. Daniel B. Shea writes on colonial America, Lawrence Buell on the American Renaissance, Susanna Egan on the years after the Civil War, and Albert E. Stone on the twentieth century.
The second part of American Autobiography shows the diversity of voices, forms, audiences, and modes of identity in the literature of American autobiography. Provocative essays by William Boelhower and Sau-Ling Cynthia Wong on immigrant autobiography discuss the changes in the sense of self that occur when strangers come to a strange land. Arnold Krupat writes about how American Indians conceptualize the self and about the relationship between oral and written discourse. William L. Andrews evaluates the strong body of critical theory that has grown up around African-American autobiography, showing how both the genre and its criticism have responded to contemporary historical pressures. Carol Holly explores the model of personal identity that underlies nineteenth-century women’s autobiographies, and Blanche Gelfant examines the narrative and political strategies of Emma Goldman’s autobiography, especially her use of popular romance and melodrama.
The last essay offers a more personal perspective on contemporary autobiography: a “dialogue” between Robert and Jane Coles about how they developed their method of eliciting first-person oral narratives for their famous Children of Crisis and Women of Crisis series.
These essays raise theoretical issues that are examined in Paul John Eakin’s incisive introduction: How do we define a literary genre of protean shape and perplexing cultural multiplicity? How do we approach the special problems created by documents that are both historical and literary texts, ones that pose difficult questions about truth and representation? Most important, how is the canon of American autobiography to be constructed, and how is its history to be written? Tracing that critical history, Eakin explains how changing ideas about “the mainstream” and “the marginal” have revitalized our retrospective view of American autobiography and opened up new and exciting prospects for today’s reader.
This book is designed to be a primary text for courses in aviation history and development and aviation in America.
The seventeen chapters in The American Aviation Experience: A History range chronologically from ancient times through the Wright brothers through both world wars, culminating with the development of the U.S. space program. Contributors also cover balloons and dirigibles, African American pioneers in aviation, and women in aviation. These essayists—leading scholars in the field—present the history of aviation mainly from an American perspective.
The American Aviation Experience includes 335 black-and-white photographs, two maps, and an appendix, “Leonardo da Vinci and the Science of Flight.”.
Whether we live in cities, in the suburbs, or in the country, birds are ubiquitous features of daily life, so much so that we often take them for granted. But even the casual observer is aware that birds don’t fill our skies in the number they once did. That awareness has spawned conservation action that has led to notable successes, including the recovery of some of the nation’s most emblematic species, such as the Bald Eagle, Brown Pelican, Whooping Crane, and Peregrine Falcon. Despite this, a third of all American bird species are in trouble—in many cases, they’re in imminent danger of extinction. The most authoritative account ever published of the threats these species face, The American Bird Conservancy Guide to Bird Conservation will be the definitive book on the subject.
The Guide presents for the first time anywhere a classification system and threat analysis for bird habitats in the United States, the most thorough and scientifically credible assessment of threats to birds published to date, as well as a new list of birds of conservation concern. Filled with beautiful color illustrations and original range maps, the Guide is a timely, important, and inspiring reference for birders and anyone else interested in conserving North America’s avian fauna. But this book is far more than another shout of crisis. The Guide also lays out a concrete and achievable plan of long-term action to safeguard our country’s rich bird life. Ultimately, it is an argument for hope. Whether you spend your early weekend mornings crouched in silence with binoculars in hand, hoping to check another species off your list, or you’ve never given much thought to bird conservation, you’ll appreciate the visual power and intellectual scope of these pages.
American Bridge Patents: The First Century (1790-1890), thoroughly illustrated with dozens of photographs and reproductions, presents the findings of a two-decade long study of several thousand pages of patent documents collected from the U.S. Patent Office. The essays in this volume offer readers tremendous insight into the creativity that characterized the evolution of bridge patents during this important and formative period of American engineering history. Of particular interest to the authors is the great variety of innovative and unusual designs that were accommodated by the then ambiguous patent law. Alongside these case studies, authors also address the Patent Office itself, whose processes regarding permissions were reformed in 1836, linking the evolution of patent law to the technology it managed.
In American Catholic Hospitals, Barbra Mann Wall chronicles changes in Catholic hospitals during the twentieth century, many of which are emblematic of trends in the American healthcare system.
Wall explores the Church's struggle to safeguard its religious values. As hospital leaders reacted to increased political, economic, and societal secularization, they extended their religious principles in the areas of universal health care and adherence to the Ethical and Religious Values in Catholic Hospitals, leading to tensions between the Church, government, and society. The book also examines the power of women--as administrators, Catholic sisters wielded significant authority--as well as the gender disparity in these institutions which came to be run, for the most part, by men. Wall also situates these critical transformations within the context of the changing Church policy during the 1960s. She undertakes unprecedented analyses of the gendered politics of post-Second Vatican Council Catholic hospitals, as well as the effect of social movements on the practice of medicine.
Christianity takes an astonishing variety of forms in America, from churches that cherish traditional modes of worship to evangelical churches and fellowships, Pentecostal churches, social-action churches, megachurches, and apocalyptic churches—congregations ministering to believers of diverse ethnicities, social classes, and sexual orientations. Nor is this diversity a recent phenomenon, despite many Americans’ nostalgia for an undeviating “faith of our fathers” in the days of yore. Rather, as Stephen Cox argues in this thought-provoking book, American Christianity is a revolution that is always happening, and always needs to happen. The old-time religion always has to be made new, and that is what Americans have been doing throughout their history.
American Christianity is an engaging book, wide ranging and well informed, in touch with the living reality of America’s diverse traditions and with the surprising ways in which they have developed. Radical and unpredictable change, Cox argues, is one of the few dependable features of Christianity in America. He explores how both the Catholic Church and the mainline Protestant churches have evolved in ways that would make them seem alien to their adherents in past centuries. He traces the rise of uniquely American movements, from the Mormons to the Seventh-day Adventists and Jehovah’s Witnesses, and brings to life the vivid personalities—Aimee Semple McPherson, Billy Sunday, and many others—who have taken the gospel to the masses. He sheds new light on such issues as American Christians’ intense but constantly changing political involvements, their controversial revisions in the style and substance of worship, and their chronic expectation that God is about to intervene conclusively in human life. Asserting that “a church that doesn’t promise new beginnings can never prosper in America,“ Cox demonstrates that American Christianity must be seen not as a sociological phenomenon but as the ever-changing story of individual people seeking their own connections with God, constantly reinventing their religion, making it more volatile, more colorful, and more fascinating.
The essays in American Cinema 1890-1909 explore and define how the making of motion pictures flowered into an industry that would finally become the central entertainment institution of the world. Beginning with all the early types of pictures that moved, this volume tells the story of the invention and consolidation of the various processes that gave rise to what we now call "cinema." By examining the battles over patents, production, exhibition, and the reception of film, readers learn how going to the movies became a social tradition in American society.
In the course of these two decades, cinema succeeded both in establishing itself among other entertainment and instructional media and in updating various forms of spectacle.
The essays in American Cinema of the 1910s explore the rapid developments of the decade that began with D. W. Griffith's unrivaled one-reelers. By mid-decade, multi-reel feature films were profoundly reshaping the industry and deluxe theaters were built to attract the broadest possible audience. Stars like Mary Pickford, Charlie Chaplin, and Douglas Fairbanks became vitally important and companies began writing high-profile contracts to secure them. With the outbreak of World War I, the political, economic, and industrial groundwork was laid for American cinema's global dominance. By the end of the decade, filmmaking had become a true industry, complete with vertical integration, efficient specialization and standardization of practices, and self-regulatory agencies.
In ten original essays, American Cinema of the 1920s examines the film industry's continued growth and prosperity while focusing on important themes of the era.
The 1940s was a watershed decade for American cinema and the nation. Shaking off the grim legacy of the Depression, Hollywood launched an unprecedented wave of production, generating some of its most memorable classics, including Citizen Kane, Rebecca, The Lady Eve, Sergeant York, and How Green Was My Valley. In 1942, Hollywood joined the national war effort with a vengeance, creating a series of patriotic and escapist films, such as Casablanca, Mrs. Miniver, The Road to Morocco, and Yankee Doodle Dandy.
With the end of the war, returning GIs faced a new America, in which the country had been transformed overnight. Film noir reflected a new public mood of pessimism and paranoia, in such classic films of betrayal and conflict as Kiss of Death, Force of Evil, Caught, and Apology for Murder, depicting a poisonous universe of femme fatales, crooked lawyers, and corrupt politicians.
With the threat of the atom bomb lurking in the background and the beginnings of the Hollywood Blacklist, the 1940s was a decade of crisis and change. Featuring essays by a group of respected film scholars and historians, American Cinema of the 1940s brings this dynamic and turbulent decade to life. Illustrated with many rare stills and filled with provocative insights, the volume will appeal to students, teachers, and to all those interested in cultural history and American film of the twentieth century.
From cold war hysteria and rampant anticommunist witch hunts to the lure of suburbia, television, and the new consumerism, the 1950s was a decade of sensational commercial possibility coupled with dark nuclear fears and conformist politics. Amid this amalgamation of social, political, and cultural conditions, Hollywood was under siege: from the Justice Department, which pressed for big film companies to divest themselves of their theater holdings; from the middleclass, whose retreat to family entertainment inside the home drastically decreased the filmgoing audience; and from the House Un-American Activities Committee, which was attempting to purge the country of dissenting political views. In this difficult context, however, some of the most talented filmmakers of all time, including John Ford, Alfred Hitchcock, Vincente Minnelli, Nicholas Ray, and Billy Wilder produced some of their most remarkable work.
Bringing together original essays by ten respected scholars in the field, American Cinema of the 1950s explores the impact of the cultural environment of this decade on film, and the impact of film on the American cultural milieu. Contributors examine the signature films of the decade, including From Here to Eternity, Sunset Blvd., Singin' in the Rain, Shane, Rear Window, and Rebel Without a Cause, as well as lesser-known but equally compelling films, such as Dial 1119, Mystery Street, Suddenly, Summer Stock, The Last Hunt, and many others.
Provocative, engaging, and accessible to general readers as well as scholars, this volume provides a unique lens through which to view the links between film and the prevailing social and historical events of the decade.
The essays in American Cinema of the 1990s examine the big-budget blockbusters and critically acclaimed independent films that defined the decade. The 1990s' most popular genre, action, channeled anxieties about global threats such as AIDS and foreign terrorist attacks into escapist entertainment movies. Horror films and thrillers were on the rise, but family-friendly pictures and feel-good romances netted big audiences too. Meanwhile, independent films captured hearts, engaged minds, and invaded Hollywood: by decade's end every studio boasted its own "art film" affiliate.
The decade from 2000 to 2009 is framed, at one end, by the traumatic catastrophe of the 9/11 attacks on the World Trade Center and, at the other, by the election of the first African American president of the United States. In between, the United States and the world witnessed the rapid expansion of new media and the Internet, such natural disasters as Hurricane Katrina, political uprisings around the world, and a massive meltdown of world economies.
Amid these crises and revolutions, American films responded in multiple ways, sometimes directly reflecting these turbulent times, and sometimes indirectly couching history in traditional genres and stories. In American Cinema of the 2000s, essays from ten top film scholars examine such popular series as the groundbreaking Matrix films and the gripping adventures of former CIA covert operative Jason Bourne; new, offbeat films like Juno; and the resurgence of documentaries like Michael Moore’s Fahrenheit 9/11. Each essay demonstrates the complex ways in which American culture and American cinema are bound together in subtle and challenging ways.
More than 100 powerful images by noted photographer Russell Lee that document the working conditions and lives of coal mining communities in the postwar United States; publication coincides with an exhibition at the National Archives in Washington, DC.
In 1946 the Truman administration made a promise to striking coal miners: as part of a deal to resume work, the government would sponsor a nationwide survey of health and labor conditions in mining camps. One instrumental member of the survey team was photographer Russell Lee. Lee had made his name during the Depression, when, alongside Dorothea Lange and Walker Evans, he used his camera to document agrarian life for the Farm Security Administration (FSA). Now he trained his lens on miners and their families to show their difficult circumstances despite their essential contributions to the nation's first wave of postwar growth.
American Coal draws from the thousands of photographs that Lee made for the survey—also on view in the US National Archives and Records Administration’s exhibition Power & Light—and includes his original, detailed captions as well as an essay by biographer Mary Jane Appel and historian Douglas Brinkley. They place his work in context and illuminate how Lee helped win improved conditions for his subjects through vivid images that captured an array of miners and their communities at work and at play, at church and in school, in moments of joy and struggle, ultimately revealing to their fellow Americans the humanity and resilience of these underrecognized workers.
This is the rollicking, never-before-published memoir of a fascinating woman with an uncanny knack for being in the right place in the most interesting times. Of racially mixed heritage, Anita Reynolds was proudly African American but often passed for Indian, Mexican, or Creole. Actress, dancer, model, literary critic, psychologist, but above all free-spirited provocateur, she was, as her Parisian friends nicknamed her, an “American cocktail.”
One of the first black stars of the silent era, she appeared in Hollywood movies with Rudolph Valentino, attended Charlie Chaplin’s anarchist meetings, and studied dance with Ruth St. Denis. She moved to New York in the 1920s and made a splash with both Harlem Renaissance elites and Greenwich Village bohemians. An émigré in Paris, she fell in with the Left Bank avant-garde, befriending Antonin Artaud, Man Ray, and Pablo Picasso. Next, she took up residence as a journalist in Barcelona during the Spanish Civil War and witnessed firsthand the growing menace of fascism. In 1940, as the Nazi panzers closed in on Paris, Reynolds spent the final days before the French capitulation as a Red Cross nurse, afterward making a mad dash for Lisbon to escape on the last ship departing Europe.
In prose that perfectly captures the globetrotting nonchalance of its author, American Cocktail presents a stimulating, unforgettable self-portrait of a truly extraordinary woman.
It was Waldron Phoenix Belknap who first discovered that in a large proportion of early Colonial portraits the compositions had been copied in whole or in part from mezzotints published in London. The tragic and untimely death in 1949 of the founder of The Belknap Press of Harvard University Press cut short a study of the foundations of American painting upon which he had been actively engaged, but the present volume brings together its author's contributions to art history.
Prepared for publication by the staff of the Waldron Phoenix Belknap, Jr., Research Library of American Painting, at the Henry Francis duPont Winterthur Museum, the book is divided into seven parts: The Identity of Robert Feke; Problems in Identification, De Peyster Portraits; New York Painters and Patrons: The Genealogical Approach; Painters and Craftsmen; Notes on Colonial Portraits; The Discoveries of Waldron Phoenix Belknap, Jr., concerning the Influence of the English Mezzotint on Colonial Painting; New York Portraits.
The many hundreds of names included in the work are brought together in an analytical index. Two hundred and eighty-four Colonial portraits and British mezzotints are illustrated in half-tone plates. There is a four-color frontispiece.
Written by social scientists and historians, these essays investigate various aspects of American colonial government through comparison with and contextualization within colonial regimes elsewhere in the world—from British Malaysia and Dutch Indonesia to Japanese Taiwan and America's other major overseas colony, Puerto Rico. Contributors explore the program of political education in the Philippines; constructions of nationalism, race, and religion; the regulation of opium; connections to politics on the U.S. mainland; and anticolonial resistance. Tracking the complex connections, circuits, and contests across, within, and between empires that shaped America's colonial regime, The American Colonial State in the Philippines sheds new light on the complexities of American imperialism and turn-of-the-century colonialism.
Contributors. Patricio N. Abinales, Donna J. Amoroso, Paul Barclay, Vince Boudreau, Anne L. Foster, Julian Go, Paul A. Kramer
The Old Northwest—the region now known as the Midwest—has been largely overlooked in American cultural history, represented as a place smoothly assimilated into the expanding, manifestly-destined nation. An American Colony: Regionalism and the Roots of Midwestern Culture studies the primary texts and principal conflicts of the settlement of the Old Northwest to reveal that its entry into the nation’s culture was not without problems. In fact, Edward Watts argues that it is best understood as a colony of the United States, just as the eastern states were colonies of the British Empire.
Reconsidered as a colony, the Old Northwest becomes a crucible revealing the complex entanglement of local, indigenous, and regional interests with the coercions of racism, nationalism, and imperialism. This conflicted setting, like those of all settlement colonies, was beset by competing views of local identity, especially as they came to contradict writers from the eastern seaboard.
Using postcolonial theories developed to describe other settlement colonies, An American Colony identifies the Old Northwest as a colony and its culture as less than fully participating in either the nation’s or its own writing and identity. This embedded sense of cultural inferiority, Watts argues, haunts Midwestern culture even today.
In 1943 the American Communist Party was a large, politically influential, broadly based movement. In 1957 it was a small, weak, and isolated political sect. The Party’s decline in the intervening Cold War years is the subject of this book—an analysis of a major radical movement that touched millions of Americans and pervaded many aspects of American life.
The author, at one time active in the Party and foreign editor of its paper, The Daily Worker, and now a scholar and professor of political science, has combined personal experience with careful scholarship to analyze what happened to a revolutionary organization that found itself unable to make a revolution. His approach is not autobiographical, but rather analytical.
Joseph Starobin places the Party in its historical and political context and describes its unsuccessful efforts to adapt to the demands of the American political situation. Throughout the book are fresh interpretations of important events: the struggle in 1945 between Earl Browder and William Z. Foster for leadership of the Party, the outcome of which had a profound effect on the Party’s future course; the nature of Browder’s policies and Moscow’s eventual rejection of him; the Henry Wallace movement of 1948; the right–left battle within the CIO in the late forties; the “Communist conspiracy” problem of the fifties; the Party’s relationship with the Soviet Communists; the origins of the “Black liberation movement.”
The author’s basic conclusion is that American Communists were on their way to becoming an authentic and powerful radical movement in American life but were defeated by a basic contradiction: they could not continue to be part of a world movement dominated by Leninist concepts and yet consolidate their relative success within the United States, where these concepts were not applicable. To survive, the Party had to change. It had to anticipate by fifteen years and to endure the two tendencies that would develop within world Communism: the Russian quasi-revolutionary strain and the Chinese ultra-revolutionary. It tried, Mr. Starobin shows, and it failed.
American Communism in Crisis, 1943–1957 will interest not only history-minded readers but also anyone concerned today with social change. The book has much to say to the new left—giving historical material necessary for an understanding of its past and its potential.
This is the story of how rural Black people struggled against the oppressive sharecropping system of the Arkansas and Mississippi Delta during the first half of the twentieth century. Here, white planters forged a world of terror and poverty for Black workers, one that resembled the horrific deprivations of the African Congo under Belgium’s King Leopold II.
Delta planters did not cut off the heads and hands of their African American workers but, aided by local law enforcement, they engaged in peonage, murder, theft, and disfranchisement. As individuals and through collective struggle, in conjunction with national organizations like the NAACP and local groups like the Southern Tenant Farmers’ Union, Black men and women fought back, demanding a just return for their crops and laying claim to a democratic vision of citizenship. Their efforts were amplified by the two world wars and the depression, which expanded the mobility and economic opportunities of Black people and provoked federal involvement in the region.
Nan Woodruff shows how the freedom fighters of the 1960s would draw on this half-century tradition of protest, thus expanding our standard notions of the civil rights movement and illuminating a neglected but significant slice of the American Black experience.
John Muir and His Legacy is at once a biography of this remarkable man—the first work to make unrestricted use of all of Muir’s manuscripts and personal papers—and a history of the century-old fight to save the natural environment. Stephen Fox traces the conservation movement's diverse, colorful, and tumultuous history, from the successful campaign to establish Yosemite National Park in 1890 to the movement's present day concerns of nuclear waste and acid rain.
Conservation has run a cyclical course, Fox contends, from its origins in the 1890s when it was the province of amateurs, to its takeover by professionals with quasi-scientific notions, and back, in the 1960s to its original impetus. Since then man’s view of himself as “the last endangered species” has sparked an explosion of public interest in environmentalism.
First published in 1981 by Little, Brown, this book was warmly received as both a biography of Muir and a history of the American conservation movement. It is now available in this new Wisconsin paperback edition.
The American country club movement parallels the rise of suburbanization in the United States. Its roots can be found in the exclusive city clubs and summer resorts of the nineteenth century; its growth reflects a desire for permanent and organized places where the wealthy could spend their leisure time. By the late nineteenth century, mass transportation enabled the wealthy to escape the confines of the city, and suburbanization began. Their pursuit of leisure—in the form of city clubs, spas, summer resorts, and elite sports—became the foundation for the country club. Country clubs provided places where the elite could combine their interests in sports, the outdoors, and leisure while separating themselves from those they considered non-elite. The American Country Club chronicles the social and economic evolution of this elite leisure landscape.
The founding clubs were makeshift landscapes that took advantage of existing conditions, but in the early twentieth century, standard club practices emerged. Clubhouse design, golf course layouts, financial arrangements, and the rise of club management furthered the country club movement. Residential developers also learned to use the country club as a way to organize their elite subdivisions and to sell homes. But the Depression and World War II stifled the growth of country clubs. Eventually the country club movement regained its momentum, and corporations began to develop country clubs to meet the growing demand for club life and to treat the country club as a revenue source.
Some critics feel that the country club addresses a basic liberty of social choice whereas others view it as an unnecessary source of social discrimination. Beyond these positions, James Mayo argues that our nation’s political economy is reflected in the country club, which simultaneously thrives as a business and provides social status for its members.
American Culture comprises fifteen essays looking at the familiar and the less familiar in American society: urbanites in Pittsburgh and Indianapolis, rural communities in the American West, Hispanics in Wisconsin, Samoans in California, the Amish, and the utopian religious communities of the Shakers and Oneida. The essays address a wide range of topics and a spectrum of occupations-miners, whalers, farmers, factory workers, physicians and nurses-to consider such questions as why some religious sects remain distinctive, separate, and viable; how groups use of such things as nicknames and family reunions to maintain ties within the community; how immigrant communities organize to sustain traditional cultural activities.
A roadmap for US military innovation based on the Navy’s history of success through civilian-military collaborations
The US military must continually adapt to evolving technologies, shifting adversaries, and a changing social environment for its personnel. In American Defense Reform, Dave Oliver and Anand Toprani use US naval history as a guide for leading successful change in the Pentagon.
American Defense Reform provides a historical analysis of the Navy during four key periods of disruptive transformation: the 1940s Revolt of the Admirals, the McNamara Revolution in systems analysis, the fallout from the Vietnam War, and the end of the Cold War. The authors draw insights from historical documents, previously unpublished interviews from four-star admirals, and Oliver’s own experiences as a senior naval officer and defense industry executive. They show that Congress alone cannot effectively create change and reveal barriers to applying the experience of the private sector to the public sector
Ultimately, Oliver and Toprani show that change can only come from a collaborative effort between civilians, the military, and industry, each making vital contributions. American Defense Reform provides insights and practical recommendations essential to reforming national defense to meet future demands.
Diaspora constitutes a powerful descriptor for the modern condition of the contemporary poet, the spokesperson for the psyche of America. The poems in American Diaspora: Poetry of Displacement focus on the struggles and pleasures of creating a home-physical and mental-out of displacement, exile, migration, and alienation.
To fully explore the concept of diaspora, the editors have broadened the scope of their definition to include not only the physical act of moving and immigration but also the spiritual and emotional dislocations that can occur-as for Emily Dickinson and other poets-even in a life spent entirely in one location.
v
One man was tongue-tied and awkward around women, in many ways a mama's boy at heart, although his reputation for thuggery was well earned. The other was a playboy, full of easy charm and ready jokes, his appetite for high living a matter of public record. One man tolerated gangsters and bootleggers as long as they paid their dues to his organization. The other was effectively a gangster himself, so crooked that he hosted a national gathering of America's most ruthless killers. One man never drank alcohol. The other, from all evidence, seldom drank anything else.
American Dictators is the dual biography of two of America’s greatest political bosses: Frank Hagueand Enoch “Nucky” Johnson. Packed with compelling information and written in an informal, sometimes humorous style, the book shows Hague and Johnson at the peak of their power and the strength of their political machines during the years of Prohibition and the Great Depression. Steven Hart compares how both men used their influence to benefit and punish the local citizenry, amass huge personal fortunes, and sometimes collaborate to trounce their enemies.
Similar in their ruthlessness, both men were very different in appearance and temperament. Hague, the mayor of Jersey City, intimidated presidents and wielded unchallenged power for three decades. He never drank and was happily married to his wife for decades. He also allowed gangsters to run bootlegging and illegal gambling operations as long as they paid protection money. Johnson, the political boss of Atlantic City, and the inspiration for the hit HBO series Boardwalk Empire, presided over corruption as well, but for a shorter period of time. He was notorious for his decadent lifestyle. Essentially a gangster himself, Johnson hosted the infamous Atlantic City conference that fostered the growth of organized crime.
Both Hague and Johnson shrewdly integrated otherwise disenfranchised groups into their machines and gave them a stake in political power. Yet each failed to adapt to changing demographics and circumstances. In American Dictators, Hart paints a balanced portrait of their accomplishments and their failures.
READERS
Browse our collection.
PUBLISHERS
See BiblioVault's publisher services.
STUDENT SERVICES
Files for college accessibility offices.
UChicago Accessibility Resources
home | accessibility | search | about | contact us
BiblioVault ® 2001 - 2024
The University of Chicago Press